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THE ARTISTS OF PERGAMUM 


BY 


HENRIETTA JOSEPHINE MEETEER 


THESIS 
PRESENTED TO THE FACULTY OF THE DEPARTMENT OF PHILOS 
OPHY OF THE UNIVERSITY OF PENNSYLVANIA IN PARTIAL 
FULFILMENT OF THE REQUIREMENTS FOR THE 
DEGREE OF DocToR ΟΕ PHILOSOPHY 


May, 1904 


THE ARTISTS OF PERGAMUM 


BY 


HENRIETTA JOSEPHINE MEETEER 
᾿ 


THESIS 


PRESENTED TO THE FACULTY OF THE DEPARTMENT OF PHILOS- 
OPHY OF THE UNIVERSITY OF PENNSYLVANIA IN PARTIAL 
FULFILMENT OF THE REQUIREMENTS FOR THE 
DEGREE OF DocTror oF PHILOSOPHY 


May, 1904 


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THE ARTISTS OF PERGAMUM. 


Amp the struggles that marked the dismemberment 
of Alexander’s empire, when unity was replaced by 
varying and multiplied divisions, when the fiat of 
almost unknown Greek soldiers was accepted as the 
destiny of peoples and nations long crushed under 
the stifling influence of Eastern despotism, there grad- 
ually arose beside the great Greek powers of Syria 
and Egypt several independent lesser states, of which 
Pergamum was, perhaps, the most fortunate and suc- 
cessful. The ancient city was situated on a lofty iso- 
lated hill in the broad and fertile valley of the Caicus, 
about twenty miles from its mouth. Its inhabitants 
claimed descent from Arcadian colonists who crossed to 
Asia with Telephus, son of Heracles; but this Greek city 
on barbarian soil does not appear in history until the 
time of Alexander’s generals. Small and insignificant 
in its origin, it gradually grew, thanks to the military 
talents and astuteness of its princes, who had the wis- 
dom to always recognize the winning side, into a power 
and importance that give it a place alike in history 
and in art. 

The craggy summit of the ancient acropolis, which 
for more than a century was to guard the brilliant 
capital of a great kingdom, furnished an impregnable 
fortress, chosen by Lysimachus as the depository of 
his treasure; but both treasure and fortress passed into 
the hands of his officer Philetaerus, a native of Teium, 
a small town in the northern part of Asia Minor; and 
this comparatively obscure soldier, in the year 280 
B. c., became the founder of a dynasty which was one 
of the most capable and attractive of the age. Public 

1 


BA for sy PP es 


2 THE ARTISTS OF PERGAMUM. 


and private virtues distinguished this house, whose 
succession, though generally indirect, was marked by 
no murders and no jealousies,—a record almost un- 
paralleled in the history of the time. 

The successor of Philetaerus was his nephew Eu- 
menes (263-241 B. c.), of whom little is known; but 
to the wise policy and sound statesmanship of the third 
ruler of this house, Attalus, first king of Pergamum 
(241-197 3B. c.), was virtually due the establishment 
of the kingdom. An important part of this policy was 
his friendship and alliance with Rome. But Attalus’s 
great achievement was his complete victory over the 
Gauls, that great barbaric horde, which, after invading 
southern Greece and even threatening Delphi, were 
now swarming over Asia Minor, where they had 
already effected a settlement—a victory that, vital to 
Pergamum, relieved the terror of Greece. 

The encouragement of art and literature dates from 
this reign; for Attalus was a generous patron of learn- 
ing, and Pergamum soon became a center of art, as well 
as a city of regal magnificence, and one of the leading 
exponents of Hellenism. It reached the height of its 
prosperity in the reign of EKumenes II (197-159 8. c.), 
whose dominion embraced a considerable portion of 
Asia Minor, but declined under his brother and suc- 
cessor, Attalus II (159-188 s. c.), largely because of 
the increasing strength of Rome, under whose earlier 
patronage it had prospered so greatly. The last king, 
Attalus III, died 133 B. c., bequeathing his kingdom 
to the Roman people, by whom the last scion of this 
illustrious line, Aristonicus, was put to death in prison. 

Though Pergamum did not equal Alexandria in its 
influence on the civilization of the world, it became, 
through its great library and famous school of writers, 
her most formidable rival in the field of literature and 


INTRODUCTION. 3 


science; while as a center of artistic activity it far 
surpassed the great first city of the Hellenistic world, 
and was, for almost a century, until absorbed in the 
Roman Empire, one of the main channels of culture and 
civilization. Its princes, who were far more truly 
Hellenic than other Hellenistic sovereigns, were, more- 
over, Greek rulers of a Greek people, a happy union 
which did not exist in the other empires of the day, 
and which was, no doubt, an important factor in pro- 
curing for Pergamum its leading position in art; for 
art in the period following Alexander the Great had 
its center, not in Alexandria, but in Rhodes and at the 
court of the Attalids. 

Those Celtic hordes whose incursions into Greece and 
Asia Minor had filled men’s hearts with terror were, 
after the wars of the Seleucid brothers, in which they 
had fought as mercenaries on almost all sides, let loose 
upon their neighbors. The savage cruelty of these 
barbarians, their aimless rapine and plunder, brought 
dismay and ruin, while threatening the overthrow of 
all civilization. Other sovereigns of Asia purchased im- 
munity from their depredations, but Attalus I of Per- 
gamum enforced it at the point of the sword. Thus 
the victories won by him and his successor Kumenes, 
had, in the eyes of their contemporaries, a significance 
equal to those of Marathon and Salamis, and were fol- 
lowed at the capital of Attalus by one of those great 
outbursts of intellectual artistic activity which succeed 
any deep stirring of national existence. Memorials 
of these victories, erected not only at the court of the 
Attalids but also at the most famous shrines of Greece, 
testify to the enthusiasm which inspired a splendid 
revival of sculpture.’ 


1M. H. E. Meier, Pergamenisches Reich; A. G. van Cappelle, Com- 
mentatio de Regibus et Antiquitatibus Pergamenis (Amsterdam, 1862) ; 


4 THE ARTISTS OF PERGAMUM. 


Works of art in Pergamum, however, were naturally 
not confined to such contemporaneous productions. 
The testimony of literature and inscriptions proves 
that Pergamum was a storehouse of such works 
gathered from all parts of Greece, and it is very prob- 
able that this collection included a generous share of 
the spoils of Corinth. 

The list of works which can be gathered from the 
scanty records of Pergamene art must be divided into 
two classes: 

1. Works of contemporaneous artists made for and 
in Pergamum ; 

2. Those procured by its kings, who were liberal pa- 
trons of art, either by purchase or from the spoils of 
conquest. 

From late Greek and Roman writers can be gathered 
a brief list of names of artists who worked in Perga- 
mum and works of art found there. A number of 
artists’ subscriptions excavated at Pergamum, many 
of which are, unfortunately, very fragmentary, have 
added to this list. Moreover, some of these names 
have been identified with those of artists known from 
other sources, and works of art mentioned by ancient 
writers have not only been ascribed to some of them, 
but it is also generally conceded that copies of Perga- 
mene works of art are still in existence. 

A number of the names, however, which have been 
found in inscriptions must be assigned to works of the 
second class. One such name has been discovered, and 
possibly three, in three inscriptions (Alterthuemer von 
Pergamon, VIII’, 48-50), whose contents and rather 
ornamental character have led Fraenkel to group them 


M. Collignon, Pergame. Restauration et Description des Monuments 
de l’Acropole (Paris, 1900); J. L. Ussing, Pergamos. Seine Geschichte 
und seine Monumente (Berlin, 1899). 


ART COLLECTION OF THE ATTALIDS. 5 


together; for there can be no doubt that the marble 
pedestals on whose fragments these inscriptions have 
been found supported works of art of an earlier time, 
which were carried off to Pergamum as trophies.* 

No. 48, as restored by Fraenkel, reads: 


Ὀνάτας] Σμίκωνος Αἰγινήτης [ἐποίησεν. 


In Σμέκωνος Schuchhardt recognized the archaic form 
of Micon, the father of the Aeginetan Onatas, an artist 
of the fifth century B. c. 

There is an epigram by an Antipater in the Greek 
Anthology (Palat., IX, 238) in praise of a bronze 
statue of Apollo by Onatas: the scholiast thinks this is 
the Apollo mentioned by Pausanias (VIII, 42, 7). It 
has been conjectured? that the pedestal which bore the 
above inscription supported this colossal bronze statue 
of Apollo; if so, it was brought to Pergamum shortly 
after King Attalus came into possession of the island 
of Aegina, not long after the year 210 8. o.® 

No. 49. 

On one side of the block is the inscription: 

Θήρων Βοιώτιος 
ἐποίησεν, 
and on an adjoining side, 
"EE Αἰγίνης. 

Marks on the upper surface of the pedestal show 
that the statue was of bronze. 

There have been different theories in regard to the 
date of this artist,‘ but his identity with the Boeotian 

1 Alterthuemer von Pergamon VIII, Die Inschriften von Pergamon, M. 
Fraenkel, Fabricius, und Schuchhardt (Berlin, 1890-1895), p. 42. 

2 Ibid. 
° Polyb., XXIII, 8, 10. 
‘Lolling, Die Ergebnisse der Ausgrabungen zu Pergamon (Berlin, 


1880), p. 112; E. Loewy, Inschriften griechischer Bildhauer (Leipzig, 
1885), p. 126; Fraenkel, Alt. v. Perg., VIII, p. 42. . 


6 THE ARTISTS OF PERGAMUM. 


artist of the fourth century s. c., mentioned by Pau- 
sanias (VI, 14, 11), can searcely be questioned. The 
work of art referred to in this inscription was probably 
brought to Pergamum by Attalus I about the same 
time as the one by Onatas. 

No. 50. 


a. Σιλανίω[ν ᾿Αθηναῖος ἐποίησεν. 
Δ era 
b. Ἔξ Opeod. 


b bears the marks of having supported a statuette. 

There can be no doubt that Silanion is the famous 
worker in bronze of the fourth century Β. c. As the 
blocks on which a and ὃ have been found agree exactly 
in form, material, ete., Fraenkel thinks it is probable 
that the statuette of b also was the work of Silanion. 
These works of art must have been brought from Oreus 
to Pergamum in the time of Attalus I, as the captured 
city was handed over to him by the Romans in 200 8. c.! 

There is no reason to assume the existence of three 
earlier artists of the same name, as there is sufficient 
evidence in literature to prove that there was a collec- 
tion of earlier works of art at Pergamum. 

Another inscription found in Pergamum may be in- 
eluded with these: 

. eipy|do(c)ato Χῖος. 


Alt. v. Perg., VIII, 46. 


Fraenkel’s conjecture that this artist was Bupalus 
of Chios, who flourished in the sixth century B. ©o., 
has been accepted by others. He suggests also that 
this may be a copy of the original inscription which be- 
longed to the base of the ‘‘ Draped Graces’’ of Bupalus, 
mentioned by Pausanias (IX, 35, 6), and that this 
work of art was brought to Pergamum in the time of 

‘Liv., XXXI, 46, 16. 


ART COLLECTION OF THE ATTALIDS. 7 


the Attalids, just as the works of the preceding artists 
were. 

The conjecture of a second and later artist of this 
name, founded on an inscription on the base of a statue 
of Aphrodite excavated at Rome in 1760, has been 
disproved. 

Six inscriptions found in Pergamum (Alt. v. Perg., 
VIII, 135-140) on slabs of a great marble base con- 
tain the names of two famous Athenian artists. The 
slabs originally contained four names at least, but 
only three are preserved—Praxiteles, Myron, and Xen- 
ocrates. The flat upper surface of the pedestal bears 
the marks of having supported bronze figures. The 
epigraphy of these inscriptions, according to Fraenkel, 
places them in the time of Eumenes [1.2 Various 
theories have been advanced to account for the occur- 
rence of these names in inscriptions of this date.* The 
natural explanation seems to be that the works of art 
which this base supported were also older than the 
inscriptions and had been procured by the Pergamene 
kings by purchase or some other means; or, possibly, 
they were copies of works of earlier artists, who 
were, very probably, the artist and art critic Xen- 
ocrates of the third century s. c. and two contem- 
porary artists. A Myron of this century is known from 
a reference in Pausanias (VI, 8, 5), and an inscrip- 
tion found at Olympia,‘ and there is some evidence for 
a Praxiteles also of the same century.° 

Though the birthplace of the great Myron was 
Hleutherae and there is good reason to believe that 


1 Loewy, I. G. B., pp. 328-329. 

* Alt. v. Perg., VIII, p. 71. 

* Ibid., pp. 70-73, and Zusatz. u. Berecht., p. xii; L. v. Urlichs, Perga- 
menische Inschriften (Wuerzburg, 1883), p. 25; Loewy, I. G. B., p. 121. 

4 Arch. Zeit., 1878, p. 84; Loewy, I. G. B., 126. 

*Schol. Theoer., V, 105. 


8 THE ARTISTS OF PERGAMUM. 


EKleutherae was still part of Boeotia in the time of Myron, 
the supremacy of Thebes was never of such a nature 
as to make it probable that a native of another Boeotian 
town would be called a Theban. It can, moreover, be 
pretty safely assumed that the works of art to which 
these inscriptions belonged were not executed for Perga- 
mum, but formed part of the royal collection. 

The Praxiteles of another inscription found in Per- 
gamum (Alt. v. Perg., VIII’, 141) is, no doubt, the 
great Athenian artist of that name. 

The art collection of the Attalids contained also a 
masterpiece of Cephisodotus, the son of Praxiteles;! 
and probably a work of his contemporary, the Athenian 
Demetrius, for a fragmentary inscription found in 
Pergamum seems to contain his name: 


A[n]un[tpios . . . 
ἐπο[ ίησεν. 


Alt. v. Perg., VIII’, 142. 


This Demetrius might be a contemporary of the two 
Rhodian artists of this name,? or he might possibly 
be identified with one of them ;’ but it is more probable 
that he was the artist of the fourth century B. c. 


Πολύμνηστος ᾿Αθην[αῖος ἐποίησεν 


(Alt. ν. Perg., VIII’, 144) 


was discovered at Pergamum on a fragment of a marble 
pedestal. Marks on the upper surface of the pedestal 
show that the statue was of bronze. 

Two inscriptions which contain the signature of this 
artist have been found in Athens,* and one at Olympia, 


?Plin., N. H., XXXVI, 24. 

2 Loewy, I. G. B., 187 and 193. 
δ᾽ Alt. v. Perg., VIII, p. 73. 

4 Loewy, I. G. B., 70 and 71. 


ART COLLECTION OF THE ATTALIDS. 9 
in which Athens is mentioned as his home.’ These in- 
scriptions date from the fourth century B. c. 

There is not sufficient evidence on which to base any 
positive conclusion as to whether the Polymnestus of 
the Pergamene inscription was the Athenian artist of 
the fourth century, one of whose works the Pergamene 
kings were fortunate enough to secure, or a later artist 
of the same name and family at work in Pergamum; 
but the probabilities are in favor of the former.’ 

There are only a few references in literature to paint- 
ings at Pergamum, but there can be no doubt that this 
branch of art was well represented in the collection of 
the Pergamene kings,? for Pausanias (VII, 16, 8) 
says, when Corinth was captured and despoiled of all 
its art treasures, Mummius carried to Rome only what 
he considered the most valuable: the rest were handed 
over to Philopoemen, the leader of the auxiliary forces 
sent by Attalus from Pergamum. This collection in- 
cluded paintings; for Pliny and Strabo say that Phil- 
opoemen offered Mummius six hundred thousand 
denarii for the ‘‘ Dionysus’’ of Aristides, when he found 
the soldiers were using it as a dice-board.* Since Vel- 
leius Paterculus (I, 13, 4) says that Mummius was 80 ig- 
norant of art as to give orders to those who had charge 
of the transportation of the statues and paintings to 
Rome that if any were lost they were to be replaced 
by new ones, it is quite certain that some of the most 
valuable works of art carried off from Corinth must 
have found their way to Pergamum, where Pausanias 
says they were still to be seen in his day.°® 

1 Loewy, I. G. B., 72. 

? Fraenkel, Alt. v. Perg., VIII, p. 74, and Zusatz. u. Berecht., p. xii; 
Collignon, Pergame, p. 202; Ussing, Pergamos, p. 48. 

3 Fraenkel, Jahrb. ἃ. Arch. Inst., 1891, p. 49 sq. 

‘Plin., N. H., XXXV, 24; Strab., VIII, 381. Cf. Plin., VII, 126; 


XXXV, 100 and 132. 
δ᾽ Οἵ. Tac., Ann. XVI, 23. 


10 THE ARTISTS OF PERGAMUM. 


Another story told by Pliny, of the refusal of the 
painter Nicias to sell one of his pictures to Attalus 
for sixty talents, is, with greater probability, referred 
by Plutarch (Non posse suay. vivi see. Epic., XI, 2) 
to Ptolemy Soter (306-284 8, c.), as the dates of At- 
talus and Nicias are irreconcilable. Still the fact that 
Pliny found this story connected with the name of At- 
talus is another proof that paintings, as well as other 
works of art, were eagerly sought for by the Perga- 
mene kings and procured by purchase as well as other 
means. 

The collection of paintings at Pergamum included 
an Ajax struck by lightning, the work of Apollodorus 
of Athens, an artist of the fifth century B. c.; and pos- 
sibly a second work of this same artist, mentioned by 
Pliny, a priest in prayer;' also the ‘‘Draped Graces’’ 
of Pythagoras of Paros,? who is otherwise unknown. 
When it was not possible to obtain originals, copies of 
famous paintings were, no doubt, substituted; for, ac- 
cording to an inscription found at Delphi® and published 
with new restorations by Fraenkel,‘ three artists were 
sent by a king of Pergamum, probably Attalus II, to 
copy paintings at Delphi. Fraenkel thinks these paint- 
ings were those of Polygnotus in the Lesche. 

It has been plausibly conjectured that these works 
of art collected by the Attalids formed part of a royal 
museum, whose contents were distributed through the 
royal palace, the library, and the halls of the great 
porticoes which flanked the sacred enclosure of the 
temple of Athena on two sides.’ 


1 Plin., N. H., XXXV, 60. 

27 Paus., IX, 35, 7. 

5. Bull. ἃ. Corr. Hell., V, p. 388 sq. 

4 Jahrb. ἃ. Arch. Inst., 1891, p. 53. 

‘Fraenkel, Jahrb. d. Arch. Inst., 1891, p. 54; Alt. v. Perg., VIII, p. 
42; Conze, Siteb. d. Berl. Akad., 1893, p. 217. 


ARTISTS UNDER THE DYNASTY OF THE ATTALIDS. 11 


EPIGONUS. 


One great figure stands out preéminent among the 
artists of Pergamum: Epigonus, an artist of the third 
century B. c., who worked in bronze. Three inscrip- 
tions found in Pergamum bear his name, and two 
others may be assigned to him: a striking testimony to 
his activity, as compared with the scanty records of 
other Pergamene artists. 

The native place of Epigonus is unknown, and in- 
scriptions furnish the only clue to his date. Since, 
according to inscription 12, Alt. v. Perg., VIII’, he 
executed a quadriga for Attalus, the father of Attalus 
I, he must have been established at Pergamum during 
the lifetime of Philetaerus, 7. e., before 263 B. c.; for 
there is every reason to believe that Philetaerus out- 
lived his two younger brothers, Eumenes and Attalus, 
as their sons, Eumenes I and Attalus I, succeeded 
him.!' The period of Epigonus’s activity seems to have 
covered about forty years, for there are very good 
reasons for assigning his name to the great monument 
erected by Attalus I after the final defeat of the Gauls 
about 228 8. c.? 

Pliny (N. H., XXXIV, 88), in enumerating the art- 
ists who made bronze statues, mentions Epigonus and 
several of his works: Epigonus omnia fere praedicta im- 
itatus praecessit in tubicine et matri interfectae infante 
miserabiliter blandiente. This is the only reference to 
Epigonus in Greek or Latin literature; but the five in- 
seriptions discovered at Pergamum have not only re- 
vealed the scene of his labors and several important 
works, but also, in the opinion of some scholars, led to 
the discovery that copies of others are still in existence. 
These inscriptions, moreover, furnish the only guide 


1 Meier, Pergam. Reich, p. 11. 
?The exact date is uncertain. 


12 THE ARTISTS OF PERGAMUM. 


to a chronological arrangement of the works which may 
be ascribed to him. 

The earliest of these was executed during the life- 
time of Philetaerus, and bore the inscription: ’Eméyovos 
ἐποίησεν (Alt. v. Perg., VIII’, 12; Loewy, I. G. B., 
157°), which was found on one of three top slabs of a 
great base. This base supported a quadriga executed 
for Attalus, the father of Attalus I, in commemoration 
of an Olympic victory. 

Two other inscriptions read: 


Ἔπίγονος ἐποίησεν. 


Alt. v. Perg., VIII’, 31, 32; Loewy, I. G. B., 157, 1575". 
One was found on the top slab of a marble base, and 
the other on a block of marble which also formed part 
of the base of a statue. These are assigned by Colli- 
gnon' and Michaelis? to two of the portrait statues re- 
ferred to by Pliny (N. H., XXXIV, 88). 

There are very strong arguments in favor of assign- 
ing to Epigonus a monument erected by the general 
Epigenes and his fellow officers to commemorate the 
victory of Attalus I over the Gauls and Antiochus 
Hierax. The date of this monument is somewhat un- 
certain; it was probably erected after 228 Bp. c. Part 
of an inscription (Alt. v. Perg., VIII’, 29) belonging 
to this was found in Pergamum in 1880 on two pieces 
of a great marble base. Conze* combined with this 
the five lines of Peysonnel’s fragment (C. I. G., 3535), 
and read the inscription as follows: 


Βασιλέα Ατταλον 
9 ld A ee / “ 
Erg [n]s sis οἱ ἡγεμόνες Kal στρατ Betis: 
οἱ συναγωνισάμενοι τὰς πρὸς Tous Γαλάτας 
γωνισάμε ρ 
1 Pergame, p. 127. 


* Jahrb. d. Arch. Inst., 1893, p. 130. 
3 Monatsb. d. Berl. Akad., 1881, p. 872. 


SCULPTORS. 13 


καὶ ᾿Αντίοχον μάχας χαρισ τ] ήρια 
ἔστ[ησαν] Διὶ ᾿Αθηνᾷ. 
Ἴσι ----ΟΥ ᾽Αντι] γόνου ἔργα. 


But Fraenkel' objects to the insertion of an ἔστησαν 
in line 5, as he thinks it mars the symmetry of the in- 
scription. On Conze’s authority he makes the state- 
ment that Peysonnel did not take this inscription from 
the stone, but copied it at third, if not fourth, hand. 
So Fraenkel places the ἐστ of line 5 in Peysonnel’s frag- 
ment to correspond with line 6 of inscription 29, where 
he thinks it has resulted from a misreading of ἘΠῚ 
rather than I<I. 


Au, ᾿Αθηνᾶι. 
"E(ar)iydvou ἔργα. 
Alt. v. Perg., VIII, p. 30. 


The great base which bore this inscription very prob- 
ably supported a group, of which King Attalus was 
the central figure. From the plurals, χαριστήρια and 
ἔργα, in lines 4 and 6, it may be inferred that this group 
was one of two companion pieces, which were the work 
of the same artist. Fraenkel’ calls attention to the 
unusual form and exact agreement of the artists’ sig- 
natures in this inscription and number 22 of the Alter- 
thuemer (’Emvy]dvov é[pya), and also to the fact that 
the two bases on which these inscriptions have been 
found are exactly alike. He suggests that they are 
companion pieces, one erected by the king and one 
by the army at the close of the war. For similar com- 
panion pieces he refers to those of EKumenes II and 
his army.°® 

1 Alt. v. Perg., VIII, p. 29. 


? Philol., 1895, p. 8. 
* Alt. v. Perg., VIII, 60 and 61, 62 and 63; cf. p. 30. 


14 THE ARTISTS OF PERGAMUM. 


It is generally conceded that the masterpiece of 
Hpigonus was a great votive offering of Attalus I, and 
also that the base which supported this has been found at 
Pergamum. The blocks which formed this pedestal 
contain a series of inscriptions which commemorate 
the victories of Attalus over the Gauls,! and the cen- 
tral block bears the signature of the artist: 


"Exrey | ovou ἔργα. 
Alt. v. Perg., VITI', 22°. 


"Touy —or ᾿Αντι} ὄνου ἔ[ργα] 
Loewy, I. 6. B., 154°. 


Marks on the flat upper surface of the pedestal show 
that the statues which it supported were of bronze. 

As the war with Antiochus and the Gauls, which 
this group of statues commemorated, came to an end 
about 228 s. c.,2 these works of art were probably exe- 
cuted not long after this date. 

Since Pliny (N. H., XXXIV, 84) mentions two art- 
ists whose names end in -oves among those who commem- 
orated the victories of Attalus and Eumenes over the 
Gauls, when this inscription was discovered it was 
naturally assigned to the Isigonus or Antigonus of 
Pliny; but it is much more probable that this great 
work was entrusted to the artist whose signature has 
been found on several pedestals in Pergamum, rather 
than the art critic Antigonus or the otherwise unknown 
Isigonus. 

Since Brunn’s article in 1870 (Ann. d. Inst., Ὁ. 292 
sq.) it is generally admitted that there exist partial 
replicas of the two groups of statues set up by the 
kings of Pergamum in honor of their victory over the 
Gauls. The first group consists of dying or fighting 


1 [bid., 21-28; Loewy, I. G. B., 154 a—h. 
? Fraenkel, Philol., 1895, pp. 1-10. 


SCULPTORS. 15 


Gauls, amazons, giants, and Persians from the groups 
dedicated on the Athenian acropolis. They were found 
in Rome early in the sixteenth century. The second is 
a series of large statues which were grouped on the 
acropolis of Pergamum; to these belong the statue of 
a Gaul in the Capitoline Museum at Rome, called the 
Dying Gladiator, and the so-called Arria and Paetus 
of the Ludovisi Villa. 

Urlichs? suggested that the tubicen of Pliny, N. H., 
XXXIV, 88, was a translation of σαλπιστής (= σαλπιγ- 
x78). Michaelis* accepts this and identifies the Dying 
Gaul of the Capitol, who is represented as reclining 
with his trumpet under him, with the trumpeter of Epi- 
gonus; but Petersen‘ thinks the characteristics of the 
trumpeter in the statue are far too inconspicuous to 
make this identification tenable. Michaelis, however, 
considers the Dying Gaul and the group of the Ludo- 
visi Villa more or less free copies of the bronze originals 
which Epigonus executed for the great triumphal monu- 
ment of Attalus at Pergamum; to these he adds the 
infant caressing its slain mother, and he finds a muti- 
lated copy of this group in the Dead Amazon of the 
Naples Museum. A sixteenth century drawing of this 
was found by him in the library at Basel. This shows 
that the statue had, at the date of its discovery in 1514, 
the figure of an infant clinging to its right breast. This 
group was changed, he thinks, by a sixteenth century re- 
storer, who removed the child; indeed, he claims that 
traces of its attachment can still be seen on the right 
side of the statue. Petersen* disputes this also: he thinks 
the torso of the child found in the same excavations was 

*Paus., I, 25, 2. 

2 Perg. Inschr., p. 24. 

3 Jahrb. d. Arch. Inst., 1893, p. 132. 


4 Roem. Mitth., 1893, p. 253. 
5 Ibid. 


16 THE ARTISTS OF PERGAMUM. 


later incorrectly joined to the Amazon. He claims that 
a careful examination of the statue with a magnifying 
glass has proved that all retouchings and alterations 
which can be referred to the torso of the child visible 
in the drawing of Basel absolutely forbid the supposi- 
tion that there was original contact between the two 
figures, for the body of the child would be in an im- 
possible position if it followed the so-called evidences 
of contact. If the results of Petersen’s observations, 
as stated by him, are correct, they furnish a very strong 
argument against the theory of Michaelis. Ussing! 
takes the same view: he thinks the passage in Pliny 
may have been responsible for the infant, which was 
added later by a restorer. Sauer,’ however, disagrees 
with this. He claims that the Amazon originally was 
not a single figure, and, moreover, that inextricable 
contradictions are involved in the hypothesis that the 
child, which was removed later, was joined to the Ama- 
zon by a modern hand. The view of Michaelis and 
Sauer is the one generally accepted by scholars, most 
of whom are willing to concede that the Dead Amazon 
at Naples is at least a free copy of the work of Epi- 
gonus, the motif of which the artist of the Athenian 
ex-voto applied to an amazon, as there was no place 
in his composition for a Gallic woman.*® 

If the originals of these groups were once grouped 
on the acropolis of Pergamum, they were probably ar- 
ranged on a long base after the manner of a pediment. 
According to Reinach’s restoration, in the center of 
the gable stood the suicide scene, the Ludovisi group, on 
the right the Dying Gaul of the Capitol, and on the left 


1 Pergamos, p. 26. 

2 Mitth. d. Arch. Inst., 1894, pp. 246-248. 

* Collignon, Pergame, p. 131; Reinach, Rev. Etud. Grec., 1894, pp. 37- 
44; cf. G. Habich, Die Amazonengruppe des Attalischen Weihgeschencks 
(dissert., Berlin, 1896), pp. 14-20. 


VBR ERS 

} UNITY Ἂ REITY | 

Ἷ OF ἡ 
70] irons ' 

17 


the dead mother with her infant. To these Collignon 
thinks another figure may have been added. He con- 
siders the ancient torso of a restored statue in the 
Dresden Museum a second statue of a wounded Gaul, 
and also, very probably, the work of Epigonus; this 
statue, he says, may be assigned a place on the great 
pedestal where these figures were grouped by Epi- 
gonus, if the symmetry of the composition demanded a 
figure in the same attitude to correspond to the T'ubicen. 

Brunn! thought it very probable that the groups dedi- 
eated by Attalus at Athens were copies of similar 
groups on a larger scale set up at Pergamum. He be- 
lieved that the existing specimens of these Athenian 
groups bear marks of being reduced copies of larger 
originals, and Michaelis? thinks that Epigonus took 
some part in the execution of the ex-voto at Athens; this 
view, however, is not generally accepted. 

Michaelis proposes also to alter the Isigonus of Pliny, 
XXXIV, 84, to Epigonus. Plures artifices fecere At- 
tali et Eumenis adversus Gallos proelia, Isigonus, 
Phyromachus, Stratonicus, Antigonus qui volumina 
condidit de sua arte. The change would be quite a sim- 
ple one paleographically, as the corruption of ἘΠῚ 
to ΕἸΣῚ would be very easy; and much can be said in 
favor of the emendation, which is adopted by Reinach, 
Collignon, and others. It is a strange coincidence that 
the name which heads this list is the only one which 
is otherwise unknown and to which Pliny does not again 
refer, while the name of the artist Epigonus, whose 
signature has been found in Pergamum attached to 
bases which supported works of imposing proportions, 
is omitted; and it may be assumed with some degree of 
certainty that the artist Epigonus, whose position at 


1 Ann. d. Inst., 1870, p. 314 sq. 
2 Jahrb. d. Arch. Inst., 1893, pp. 132-133. 


SCULPTORS. 


18 THE ARTISTS OF PERGAMUM. 


the court of Attalus was probably similar to that of 
Lysippus at the court of Alexander, headed the brief 
list of Pergamene artists in Pliny’s enumeration. 


IsIGoNUS. 


If Michaelis’s emendation of Pliny, N. H., XXXIV, 
84, is accepted, the artist Isigonus owes his fictitious 
existence to the mistake of a scribe. Even if his name 
is retained in the passage of Pliny, the reasons for 
assigning numbers 22 and 29 of the Alterthuemer to 
Epigonus are sufficiently strong to counterbalance this 
single mention in Pliny, and Isigonus must be included 
with other Pergamene artists whose names only have 
survived. 


ANTIGONUS. 


Antigonus must have been born in the early part of 
the third century B. c., probably between 295 and 290, 
since there is evidence that he went to Athens about 
270 Β. c., and that he was then a man.’ His native 
place was Carystus in Euboea.? 

Antigonus was a man of great versatility and broad 
culture, an artist and art critic, a biographer and au- 
thor of a book of marvels. His familiarity with Greek 
literature is shown by the authors cited in his works; 
and that his reputation as an art critic was established 
during his lifetime is proved by Polemon of Troas, the 
learned traveler and antiquary, who either dedicated 
a work to, or wrote a controversial work against him, 
entitled: Πρὸς ᾿Αδαῖον καὶ ᾿Αντίγονον.ὃ 


*Diog. Laert., IV, 22; Wilamowitz, Phil. Unters., 1881, p. 127. 

?Diog. Laert., II, 136; 143; IV, 17; VII, 12; IX, 62, ete.; Athen., 
X, 419 E; XII, 547 Ὁ; XIII, 563 ἘΣ, ete.; Zenob., V, 82. 

3 Athen., XI, 484 B; 462 A; 210 A, ete. 


SCULPTORS. 19 


He was probably_a pupil of the philosopher Mene- 
demus of Eretria,! and was something of a traveler, 
He visited Elis,” Delphi,’ and Cos;* also Pitane in 
Aeolis, according to Wilamowitz.° He came to Athens 
—certainly before 270, for he found Polemon, Crantor, 
and Crates all three of them living there’—and probably 
stayed there for some time. At Pergamum we find him 
among the artists employed by the court.’ Here or 
near here, in his old age probably, he wrote the biog- 
raphies, of which large fragments are preserved in the 
works of Diogenes and Athenaeus.* His reputation as 
a writer was undoubtedly greater than as an artist. 

His literary works included: (1) a book of marvels 
preserved in the Palatine manuscript 398, where it 
bears the title: ᾿Αντιγόνου ἱστοριῶν παραδόξων συναγωγή. 
It consists largely of extracts from the works of other 
writers; the ‘‘ Auscultationes’’ attributed to Aristotle, 
and similar works of Callimachus, Timaeus, Ctesias, 
and others. Stephanus of Byzantium (s. v. 'vapos) cites 
a passage from it. It was probably written about 240 
B. c., as Antigonus repeats a remark which he heard 
Timon, the pupil of Aristocles, make.’ This Aristocles 
was ἐρώμενος of King Antigonus about 290, according to 
Diogenes Laertius (VII, 13). It has been edited by 
Guil. Xylander (Basel, 1568), J. Meursius (Leyden, 
1619 and 1622), J. Beckmann (Leipzig, 1791), Wester- 


* Diog. Laert., Il, 132; Wilamowitz, op. cit., p. 91. 

5 Diog. Laert., IX, 62. 

8᾽Αντιγόνου ἱστοριῶν παραδόξων ovvaywyh, ch. 141, ed. Beckmann. 

4 Ibid., ch. 177 and note. 

5 Ibid., ch. 187, note; Diog. Laert., IV, 38; Wilamowitz, op. cit., p. 57. 

9 Diog. Laert., IV, 22. 

*Plin., N. H., XXXIV, 84. 

8 Wilamowitz, op. cit., pp. 27-129; Koepke, De Antigono Carystio 
(dissert., Berlin, 1862), pp. 34-48. 

9 Ἴστ. παρ., ch. 185. 


20 THE ARTISTS OF PERGAMUM. 


mann (1839, in De paradoxogr. graec., 61 sq.), and 
Keller (Rer. Nat. Ser., I, p. 8 sq.). 

(2) A work or works on art. Pliny, N. H., XXXIV, 
84; Antigonus, qui volumina condidit de sua arte. 

(a) On statuary. Pliny, indices to books XXXII 
and XXXIV: ex auctoribus ... externis ... Anti- 
gono qui de toreutice scripsit. Cf. Diog. Laert., II, 15; 
Zenob., V, 82. 

(b) On painting. Pliny, N. H., XXXV, 68; Anti- 
gonus et Xenocrates qui de pictura scrupsere. Cf. Diog. 
Laert., VII, 188. 

Wilamowitz' thinks this book was not simply a his- 
tory of painting, but also a statistical work on pictures. 

(3) Biographies. Diog. Laert., IV, 17: Φησὶ δὲ 
᾿Αντέγονος 6 Καρύστιος ἐν τοῖς βίοι. Of. IX, 62; Athen., 
X, 419 ἘΣ; IV, 162 ἘΣ, ete. 

The identity of Antigonus the biographer and Anti- 
gonus the artist and writer on art, which Susemihl,? 
Muenzer,*? and Miss Sellers* accept as proved by Wil- 
amowitz in his essay,® is questioned by Diels® and 
Voigt,’ and disputed by Urlichs.® 

Another work mentioned by Athenaeus (III, 88 A; 
VII, 297 E; 303 Β) Περὶ λέξεως, cannot, with any de- 
gree of certainty, be ascribed to the Antigonus of 
Pergamum.? | 


1 Op. cit., p. 8. 

Geschichte der griechischen Litteratur in der Alexandrinerzeit 
(Leipzig, 1891), I, pp. 519 sq. 

3 Herm., 1895, p. 521. 

4The Elder Pliny’s Chapters on the History of Art (London, 1896), 
Introd., p. xxxvii. 

5 Op. cit., pp. 1-177. 

6 Deut. Lit. Zeit., 1882, p. 604. 

7De Fontibus ... Naturalis Historiae Plinianae .. . (dissert., 
1887), p. 24. 

8 Griechische Kunstschriftsteller, p. 34. 

9 Wilamowitz, op cit., p. 174 sq.; Koepke, pp. 18-19. 


SCULPTORS. 21 


The only reference to his work as an artist is the 
passage in Pliny (N. H., XXXIV, 84), and his name 
has not been found in inscriptions. There can be no 
doubt that it was Antigonus the writer, rather than 
Antigonus the artist, who was invited to Pergamum by 
King Attalus, at whose court he must have been a dis- 
tinguished figure. 


SrTRATONIOCUS. 


Stratonicus was a native of Cyzicus. Pliny, N. H., 
XXXIII, 156: Stratonicus mox Cyzicenus. His name 
has not been found in inscriptions, and the only guide 
to his date is the passage in Pliny quoted above.' He 
probably flourished in the second or latter part of the 
third century B. c. 

According to Pliny he was both a bronze statuary 
and a silver-chaser. N. H., XXXIV, 85: Praeterea 
‘sunt aequalitate celebrati artifices, sed nullis operum 
suorum praecipui..., item 6 caelatoribus Straton- 
icus. Of. N. H., XX XIII, 156; XXXIV, 84 and 90. His 
fame as a silver-chaser is established by Athenaeus (XI, 
782 B), who mentions him among the ἔνδοξοι τορευταί. 

His works included: (1) Statues of philosophers. 
Pliny, N. H., XXXIV, 90: Simon canem et sagittarium 
fecit, Stratonicus caelator ille philosophos Scopas 
uterque ... Whether another work of Stratonicus 
is referred to in this passage is uncertain. The reading 
Scopas uterque is a difficult one and has been variously 
interpreted: it is the unanimous reading of the manu- 
scripts. Klein? assumes a lacuna after uterque and 
reads Skopas; Urlichs* and Habich* suggest that scopas 


IN. H., XXXIV, 84. 

** Arch. Ep. Mitth., IV, p. 22 sq.t 

+ References marked * have been taken second-hand, as these works 
were not accessible to me. 

*Chrestomathia Pliniana (Berlin, 1857), p. 331, note. 

* Op. cit., p. 66, note 2; cf. Petersen, Arch. Zeit., 1854, p. 187. 


a2 THE ARTISTS OF PERGAMUM. 


is the accusative plural of σκώψ' and refers to dancing 
satyrs, the work of both Simon and Stratonicus. Ha- 
bich supports his theory by appeal to a Munich vase, on 
which =KOPA is inscribed above a satyr;' but Miss 
Sellers’ thinks the fact that the next satyr bears the 
inscription TBPI2 shows that this is no generic term, 
but merely an epithet applied to one particular satyr. 
She regards uterque as a very ancient corruption which 
conceals the name of a work of art by Scopas. Ger- 
hard*® would read copas, and Preller’ agrees with this. 
Urlichs® suggests scyphos. It is impossible to say 
whether or not some sort of dancing figure or figures 
are to be ascribed to Stratonicus, as these emendations 
suggest. 

(2) Some work or works in honor of the victories of 
the kings of Pergamum over the Gauls, or some part 
in such work or works. Pliny, N. H., XXXIV, 84. 

(3) Brunn’ thinks the ivory bas-reliefs representing 
the death of the children of Niobe and the defeat of 
the Gauls before Delphi, which decorated the doors 
of the temple of the Palatine Apollo in the time of 
Augustus,’ were, very probably, the work of Stra- 
tonicus. 


PHYROMACHUS AND NICERATUS. 


With the artist Phyromachus and the problems con- 
nected with his name the Athenian artist Niceratus is 


** Munich, Jahn Cat. 384 ΞΞ Mon. d. Inst., IV, pl. 41. 

2 Op. cit., p. 76, note. 

’ Rh. Mus., 1X (1853), p. 147. 

4Arch. Zeit., 1856, p. 189. 

5 Perg. Inschr., p. 23. 

6 Geschichte der griechischen Kuenstler (Stuttgart, 1857 and 1889), 
I, p. 444. 

™Propert., II, 31, 11 sq.; ef. Gardthausen, Augustus und seine Zeit 
(Leipzig, 1891), I, p. 963. 


SCULPTORS. 23 


so closely associated as to make it impossible to discuss 
the two separately. Their names have been found to- 
gether in an inscription of Delos: 
Νικήρατος Φυρόμα[ χος ᾿Αθηναῖοι ἐπόησαν 
(Loewy, I. G. B., 118) 


and are probably to be supplied on the top slabs of a 
large pedestal found in Pergamum.' We have the 
direct testimony of Pliny (N. N., XXXIV, 84) that an 
artist Phyromachus was at work in Pergamum in the 
second or third century Β. c., and there is documentary 
evidence for a Niceratus at work in Pergamum under 
EKumenes II in the epigram of a dedicatory offering 
which a certain Sosicrates set up at Delos to commem- 
orate the victory of Philetaerus, the brother of the 
king, over the Gauls: 


Ὦ μάκαρ ὦ Φιλέταιρε, σὺ καὶ θείοισιν. 
ὧν ἕνεκεν τάδε σοι Νικηράτου ἔκκριτα ἔργα 
Σωσικράτης Δήλῳ θῆκεν ἐν ἀμφιρύτῃ, 


Homolle, Mon. Grec., 1879, p. 46; Loewy, I. G. B., 147. 

Homolle places the victory here referred to about 
171 8. c.;? but Thraemer,* Collignon,‘ and Wolters® 
give 183 as a more probable date. 

As there was also a Phyromachus who worked on the 
frieze of the Erechtheum in Athens in the XCIII Olym- 
piad® and Pliny (N. H., XXXIV, 51) mentions an 
artist of the same name of the CX XI Olympiad, there 
can be no doubt that there were at least two artists 


* Alt. v. Perg., VIII’, 132-134. 

* Liv., XLII, 55, 7. 

3 Pergamos, pp. 249-253. 

4 Pergame, p. 202. 

5 Mitth. d. Arch. Inst., 1890, p. 196. 
§C, I. G., 160. 


24 THE ARTISTS OF PERGAMUM. 


who bore this name. Loewy makes the epigraphy of | 
inscriptions 118 and 147 I. G. B. the basis of the as- 
sumption that there were also two artists of the name 
of Niceratus, one employed by Eumenes II of Perga- 
mum in the second century 8. c., and the other at work 
with the elder Phyromachus in Delos in the third cen- 
tury B. c.;1 and, since two passages in Pliny (N. H., 
XXXIV, 51 and 84) seem to prove the existence of two 
artists of the name of Phyromachus of the same two 
centuries, Loewy suggests, as a possible explanation, 
that both Phyromachus and Niceratus belonged to a 
family of artists in which the names were repeated. It 
is not impossible that the grandsons of the pair of 
artists who worked together at Delos should have borne 
the same names and also worked together in Pergamum, 
but, as Fraenkel remarks, the only reason for accepting 
this theory would be very strong arguments against 
the identity of the two pair of artists. 

The two names are associated by Fraenkel in his 
restoration of two inscriptions found in Pergamum on 
the top slabs of a marble pedestal (Alt. v. Perg.,  ΠΙ, 
132-134). Fragments of three inscriptions were 
found, but No. 134 is too fragmentary for conjecture. 

No. 132. 

Νικήρατος] Εὐκτήμονος ᾿ΑΘθ[ηνα jios 
ἐποίησεν. 
No. 139, 
Φυρόμαχος (2) τοῦ δεῖνος ᾿Α 7θηναῖος 
[ἐποίησεν. 


Fraenkel claims that after a comparison οὗ Loewy’s 
facsimile of the Delian inscription (I. G. B., 118) 
with the stone of No. 132 (Alt. v. Perg., VIII) he finds 
no strong epigraphical evidence against the identity of 


1 Cf. Thraemer, Pergamos, Ὁ. 248 sq.; Loewy, Untersuchungen zur 
griechischen Kuenstlergeschichte (Vienna, 1883), p. 20. 


SCULPTORS. 26 


the artists mentioned in each. He says the difference, 
at all events, is much less than that between the Per- 
gamene pedestal (Loewy, I. G. B., 496) and the Delian 
inscription (I. G. B., 147), which Loewy accepts as 
referring to the same Niceratus; and adds, ‘‘ der sub- 
jective Schrifteindruck ist ein aeusserst truegerisches 
chronologisches Kriterion.’’ Fraenkel thinks there 
is further proof of the common activity of a Niceratus 
and a Phyromachus in Pliny, N. H., XXXIV, 80: 
Phyromachi quadriga ab _ Alcibiade regitur—and 
XXXIV, 88: Nec minus Niceratus omnia quae cetert 
adgressus repraesentavit Alcibiaden lampadumque ac- 
censu matrem eius Demaraten sacrificantem. These, 
he thinks, clearly refer to companion pieces, undoubt- 
edly reliefs, which represented the famous victory of 
Alcibiades in the Olympian chariot race and the thank- 
offering presented for it. 

As the personality of Alcibiades would, undoubtedly, 
have been acceptable material for artistic treatment 
in the Hellenistic age, there is no reason for assigning 
these works of art to artists of an earlier period. The 
evidence at present in our possession seems to favor 
the assumption that there was one Niceratus, who 
worked at Delos and Pergamum, perhaps with Phyro- 
machus in both places and certainly so at Delos, in the 
second century B. c.; and two artists, possibly three, 
of the name of Phyromachus, the younger of whom 
also worked at Delos and Pergamum and at the same 
time as Niceratus. 


PHYROMACHUS. 


Pyromachus is the spelling of this name in the best 
manuscripts of Pliny, but Phyromachus is the more 
usual form.? 


* Keil, Analecta Epigraphica et Onomatologica, p. 209. 


26 THE ARTISTS OF PERGAMUM. 


The date of Phyromachus was probably the second 
century B. c., though there is considerable differance 
of opinion among scholars. Loewy’ places the Phyro- 
machus of Pliny, XXXIV, 84 in the second century Β. 
c. He considers this passage of Pliny a supplementary 
one, since Pliny has stated there were no artists be- 
tween Olympiads CX XI and CLVI, and Loewy thinks 
the works mentioned by Pliny, N. H., XXXIV, 80, 
are to be assigned to the artist of the CX XI Olympiad,? 
whom he identifies with the artist of the Delian inscrip- 
tion.’ Miss Sellers‘, thinks cessavit deinde ars (N. H., 
XXXIV, 52) marks the end, not of a period of art, but 
of Pliny’s main Greek authority, and she calls atten- 
tion to a similar break in the account of the painters.° 
Urlichs® thinks the Phyromachus mentioned by Pliny, 
N. H., XXXIV, 80, is the same as the one who worked on 
the frieze of the Erechtheum-in Olympiad XCIII, 3. 
He thinks the clause, Phyromachi quadriga ab Alcibiade 
regitur, was a note added later on the margin. This 
group he places before 407 Β. c. Pliny, XXXIV, 51 
and 84, and XXXV, 146, he thinks refer to the Perga- 
mene Phyromachus whose date is Olympiad CXXI. 
Overbeck’ thinks the Phyromachus of Pliny, XXXIV, 
80, might be the one who worked on the frieze of the 
Erechtheum, but not the one of Olympiad CXXI men- 
tioned in Pliny, XXXIV, 51, nor the one who repre- 
sented the battles of Attalus and Kumenes against the 
Gauls.° He distinguishes three artists of this name. 


1 Unters. z. Kstlgesch., pp. 19-21. 

?Plin., N. H., XXXIV, 51. 

3 Loewy, I. G. B., 118. 
4 Op. cit. 

5N. H., XXXV, 135. 

*Chrest. Plin., p. 328. 

7 Die antiken Schriftquellen zur Geschichte der bildenden Kuenste bei 
den Griechen (Leipzig, 1868). 

§Plin., N. H., XXXIV, 84. 


SCULPTORS. Tt 


Brunn! suggests that the statement of Pliny, XXXIV, 
51, is probably a mistake in chronology; so, according 
to him, it is necessary to suppose that there were only 
two artists of this name, the Athenian one of the ΧΟΠῚ 
Olympiad and his possible descendant who worked for 
Eumenes in Pergamum. 

There can be no doubt that the kings referred to 
in Pliny, XXXIV, 84, are Attalus I and Eumenes II.? 

The native place of Phyromachus was probably 
Athens.* He must have been a skilful painter as well 
as sculptor, as Pliny (N. H., XX XV, 146) says Milon 
of Soli, an artist of repute, was a pupil of his.* 

The works of Phyromachus included: (1) an image 
of Asclepius which Prusias later carried off from Per- 
gamum. Polyb., XXXII, 25: Προυσίας μετὰ τὸ νικῆσαι 
τὸν ἼΛτταλον καὶ τὸ παρελθεῖν πρὸς τὸ Πέργαμον παρασκευα- 
σάμενος θυσίαν πολυτελῆ προσήγαγε πρὸς τὸ τέμενος τοῦ 
᾿Ασκληπιοῦ . . . τὸ δὲ τελευταῖον καὶ τὸ τοῦ ᾿Ασκληπιοῦ ἄγαλμα 
βαστάσας, περιττῶς ὑπὸ Φυλομάχου (Φυρομάχου) κατεσκευα- 
σμένον ἀπήνεγκεν. . .. Of. Suidas, 5.υ. Προυσίας. ἃ Diod. 
Sicul., Exe. Lib. ΧΧΧΙ, 508: Ὅτι Προυσίας ὁ Βιθυνῶν 
βασιλεὺς ἀποτυχῶν τῆς ἐπιβολῆς τῆς περὶ τὸν Γλτταλον τὸ πρὸ. 
τῆς πόλεως τέμενος τὸ καλούμενον Νικηφόριον διέφθειρε, καὶ τὸν 
νεὼν ἐλυμήνατο. ᾿Εσύλησε δὲ καὶ τοὺς ἀνδριάντας, καὶ τὰ τῶν 
θεῶν Edava, καὶ τὸ περιβόητον ἄγαλμα τοῦ ᾿Ασκληπιοῦ, δοκοῦν 
ἔργον εἶναι Φυρομάχου, περιττῶς κατεσκευασμένον. 

Pergamene coins have preserved the type, and to 
judge from these we may believe that the chryselephan- 
tine statue of Epidaurus, a work of Thrasymedes, in- 


*Gesch. d. gr. Kuenst., I, p. 443. 

3 Conze, Monatsb. ἃ. Berl. Akad., 1881, p. 869 sq.; Ergebnis. ἃ. Aus- 
grab. z. Perg., 1880, p. 83; Loewy, I. G. B., p. 117 sq., and references 
same page. 

3 Loewy, I. G. B., 118. 

4 According to Miss Seller’s reading (op. cit., p. 170), Heraclides of 
Macedon also was a pupil of Phyromachus. 


28 THE ARTISTS OF PERGAMUM. 


spired Phyromachus.t This statue was, no doubt, 
placed in the Asclepieum. 

(2) A Priapus dedicated by Anaxagoras, to which 
an epigram of Apollonidas refers. Anthol. Gr., II, 
698 (Planud., IV, 239). 


"Aver ᾿Αναξαγόρης με, τὸν οὐκ ἐπὶ ποσσὶ I pinrop, 
ἐν χθονὶ δ᾽ ἀμφοτέρῳ γούνατι κεκλιμένον. 
Τεῦξε δὲ Φυλόμαχος (Pupduayos). Χαρίτων δέ μοι ἀγχόθι Fan 
ἀθρήσας, dilev μηκέτι was ἔπεσον. 


Schoell? thinks Anaxagoras might be the well-known 
philosopher, who spent the last years of his life in 
Lampsacus, where Priapus was specially honored. If 
so, this votive offering, he thinks, would be the work 
of the Phyromachus who was employed on the frieze 
of the Erechtheum about Olympiad XCIII. Brunn 
says this is impossible, as Anaxagoras died Olympiad 
LXXXVIII, 1, twenty years earlier, when this artist 
would scarcely have been in a position to create such 
a work. 

(3) A four-horse chariot driven by Alcibiades, 
Pliny, N. H., XXXIV, 80, a companion piece to a 
work of Niceratus.’ 

(4) Two works in common with Niceratus, the 
pedestals for which have been found in Delos and at 
Pergamum. Loewy, I. G. B., 118, and Alt. v. Perg., 
VILE, 133: 


1* Brit. Mus. Cat. Gr. coins, Mysia, pl. XXV, 9; XXIX, 11; * Wroth, 
Numismatic Chronicle, 1882, p. 15; *Imhoof-Blumer, Die Muenzen 
der Dynastie von Pergamon (Berlin, 1884), pl. III, fig. 10. 

? See Brunn, Gesch. ἃ. gr. Kuenst., I, p. 443. 

* Fraenkel, Alt. v. Perg., VIII, p. 69. 


SCULPTORS. 29 


NICERATUS. 


Niceratus was an artist of the second century B. c.! 
There is little reason to question this date, though 
other views have been held.? His native place was 
Athens, and his father’s name was Euctemon. ‘Tatian, 
Orat. ad Graec., 53: . . . Νικηράτου τοῦ Εὐκτήμονος ᾿Αθη- 
vaiov... 

Fraenkel thinks the Delian inscription* and the Per- 
gamene one* prove that the inscription of a statue in 
Pergamum, given in Apian,® was composed on the 
basis of a genuine ancient inscription: 


Opus Nicerati. 


Fertur autem imaginem fuisse Eumenestis regis. 
Loewy, I. G. B., 496. 


Bursian® thought the inscription was not in its 
ancient form, but Apian’s authority (probably Cyriac 
of Ancona) had added the drawing of the statue and 
pedestal, and that his sources were an ancient inscrip- 
tion, Νικήρατος ἐποίησεν, and oral tradition of the per- 
son represented, who, Bursian thought, might be 
Eumenes I. Leowy considers this improbable; he sees 
no reason for supposing that the name Humenes came 
from any other source than an inscription, but says 
it is questionable whether any more of the memorial 
than this was extant. 

Since there are good reasons for believing that there 
was only one artist of this name, the Kumenes of this 
inscription must have been Eumenes II. 


1 Homolle, Mon. Grec., 1879, p. 46; Loewy, I. G. B., 147; Fraenkel, 
Alt. v. Perg., VIII, p. 69. 

* Loewy, I. G. B., p. 93; Overbeck, 5. Q., p. 164. 

3 Loewy, I. G. B., 147; Homolle, Mon. Grec., 1879, p. 46. 

* Alt. v. Perg., VIII’, 132. 

°Apianus et Amantius, Inscriptiones Sacrosanctae Vetustatis er 

golstadt, 1543), p. 507. 

5 Sitzb. Bay. Akad., 1874, p. 152 sq. 


30 THE ARTISTS OF PERGAMUM. 


The works of Niceratus included: (1) An Asclepius 
and Hygiea which Pliny says were in the Temple of 
Concord at Rome. N. H., XXXIV, 80: Niceratus 
Aesculapium et Hygiam qui sunt in Concordiae templo 
Romae. If this group was originally made for the 
Asclepieum at Pergamum, it was, presumably, trans- 
ferred to Rome when the Romans inherited the Perga- 
mene treasures by bequest of Attalus ITI, 133 8. c. 

(2) Alcibiades and his mother Demarate sacri- 
ficing by torchlight. Pliny, N. H., XXXIV, 88: Nec 
minus Niceratus omnia quae ceteri adgressus reprae- 
sentavit Alcibiaden lampadumque accensu matrem eis 
Damaraten sacrificantem. The name of Alcibiades’s 
mother was Aewoudyn.' The name Demarate may have 
crept into Pliny’s authority through an error in tran- 
scribing the inscription on the group.” 

(3) Portraits of athletes, philosophers, ete. Pliny, 
N. H., XXXIV, 88. 7 

(4) Astatueof Telesilla. Tatian, Orat. ad Graec., 52: 
Τελεσίλλης. . . Νικήρατος (ἐστὶν ὁ δημιουργός). Brunn® 
thinks it probable that Telesilla was the heroine and 
celebrated lyric poetess of Argos, who flourished about 
510 s. c. She led a band of her countrymen in the 
war with the Spartans and took part in their victory. 
Her statue was erected in the temple of Aphrodite 
at Argos, where Pausanias* saw her figure in relief. 

(5) Glaucippe. Tatian, Orat. ad Graec., 53: Τέγὰρ ὑμῖν 
ἡ Γλαυκίππη σεμνὸν εἰσηγήσατο παιδίον; ἤ τί τεράστιον ἐγέν- 
νησε, καθὼς δείκνυσιν αὐτῆς ἡ εἰκών, Νικηράτου τοῦ Εὐκτήμονος 
᾿Αθηναίου τὸ γένος χαλκεύσαντος ; εἰ γὰρ ἐκύησεν ἐλέφαντα, τί 
τὸ αἴτιον τοῦ δημοσίας ἀπολαῦσαι τιμῆς τὴν Γλαυκίππην:; It 


1 Plat., Ale., 105 d, ete. 

2 Sellers, op. cit., Urlich’s note, p. 75. 

*Gesch. ἃ. gr. Kuenst., I, p. 272. 

* II, 20, 8; ef. Clinton, Fasti Hellenici (Oxford, 1834), I], p. 19. 


SCULPTORS. 31 


has been conjectured! that this Glaucippe is the same 
as the Alcippe of Pliny, N. H., VII, 34, of whom the 
same marvel is related. 

(6) A statue in Pergamum which Bursian’ thought 
was a portrait statue, probably of Kumenes I, Loewy’ 
of Eumenes II. Collignon’s* conjecture that this fig- 
ure was a Nike is more probable, as a similar repre- 
sentation of this goddess is seen engraved on a stone 
in the antiquarium of Berlin.°® 

Loewy thinks this work was executed in the last 
decade of the reign of Eumenes IT; Bursian placed it 
in the second half of the third century 8. c. 

(7) An ex-voto at Delos dedicated by Sosicrates to 
celebrate a victory over the Gauls gained by Phile- 
taerus, brother of Eumenes II. Loewy, I. G. B., 147; 
Homolle, Mon. Grec., 1879, p. 46. Homolle thought 
this group was of bronze, but Wolters® thinks that 
Homolle has not sufficient reason for this assumption. 
The large pedestal and the ἔκκριτα ἔργα seem to prove 
that the ex-voto consisted of at least two figures; and 
one of these figures, a warrior in combat fallen on one 
knee and who is possibly a Gaul, may have been dis- 
covered in a statue excavated at Delos in 1882 and 
now in the museum at Athens.’ The style of the work 
would assign it to the second century s. o.* (Reinach, 
however, who conjectured that the second figure was 

*Kalkmann, Rh. Mus., XLII (1887), p. 498. 

2 Siteb. d. Bay. Akad., 1874, p. 153. 

351, G. B., 496; Unters. z. Kstlgesch., pp. 19-20. 

4 Pergame, p. 202. 

°* Furtwaengler, Beschr. ἃ. geschn. Steine im Antiquarium, No. 2816, 
pl. 24; cf. * Studniezka, Die Siegesgottin, p. 20, note. 

6 Mitth. ἃ. Arch. Inst., 1890. 

* Collignon, Histoire de la Sculpture Greecque (Paris, 1892-1897), II, 
fig. 264; Wolters, Mitth. ἃ. Arch. Inst., 1890, pp. 186-198. 


*Reinach, Bull. d. Corr. Hell., 1884, p. 180; Collignon, H. 5. Gr., II, 
p- 512. 


32 THE ARTISTS OF PERGAMUM. 


on horseback,’ thought there could be no doubt that 
this statue was the work of Agasias, son of Menophi- 
lus, whose name also was found in an inscription from 
the same place). This work was executed after 183 
B. c., and perhaps later. Loewy? places it in the last 
decade of the reign of Eumenes II. 

(8) Two unknown works whose pedestals have been 
found at Delos and in Pergamum, and which were exe- 
cuted in common with Phyromachus. Loewy, I. G. B., 
118, and Alt. v. Perg., VIII’, 132. 


Tue Artists WHo WoRrRKED ON THE FRIEZE OF THE 
Great ALTAR. 


The names of the artists who worked on the sculp- 
tured frieze of the great altar were cut on the base 
below the reliefs and lower than the names of the 
giants; where the base was lacking they were cut 
on the cornice. In the excavations at Pergamum one 
complete name and fragments of fifteen others have 
been found (Alt. v. Perg., VIII’, 70-85), but most of 
these are so fragmentary as to be beyond restoration. 


THEORRETUS. 


The name Θεόρρητος was found on a complete block 
of the top cornice (Alt. v. Perg., VIII, 83). Schuch- 
hardt says it is possible that No. 84 is a continuation of 
No. 83. If so, Theorretus would be a native of Per- 
gamum, and the inscription would read: 


Θεόρρητος [Περ] ya[ μηνὸς ἐπόησεν. 


1 Bull. ἃ. Corr. Hell., 1889, pp. 117 and 120. ° 
2 Unters. z. Kstlgesch., p. 19. 


SCULPTORS. 99 


DionysIADES (?) AND MENECRATES. 

No. 70 is made by the combination of three pieces, 
two of which were found in fragments. The height 
of the lines and the spacing of the letters are the same 
in all three pieces, and the relative position of two of 
them is made certain by the mason’s place-marks (Ver- 
satzmarken). As restored by Fraenkel, the inscription 
reads: 

Δι[ονυσι[ ἄδης τοῦ δεῖνος καὶ Mevexp|drns [Me] vexparo[vs ] 
ἐπόησαν. 

As Fraenkel’s combination of the fragments is based 
on a careful study of the inscriptions, the conjecture 
of Conze' need not be considered, and there is no reason 
for associating this Menecrates with the one men- 
tioned by Pliny (XXXVI, 34) except as a possible 
member of the same family. Collignon*thinks it prob- 
able that Menecrates was an artist of Tralles. 


MELANIPPus (7). 


In No. 71 five pieces are combined by Fraenkel, as 
the height of the lines and the spacing of the letters 
are the same in all. A certain restoration is impos- 
sible, but he suggests: 


Με͵λα[νιππος Με]λασ[ι7ο[ν . . Jos ἐπό[ησεν. 


ATHENAEUS. 


In No. 74 three pieces are combined for the same 
reasons as those given under 70. Schuchhardt* says it 
is possible to combine these fragments in two different 
‘ ways. One combination would give one artist subscrip- 
tion, and the other, two. 


1 Goett. gelehrt. Anz., 1882, p. 904. 
3 Pergame, p. 87. . 
* Alt. v. Perg., VIII, p. 58. 


34 THE ARTISTS OF PERGAMUM. 


1... 0... [[4θ]ηναίου [Tita? ᾽Αθη Ῥ]ναῖος ἐπόη σεν. 

2... . ναῖος ἐπόησεν . . . | ηναίου. 

In No. 2 the space between ἐπόη .---- and --- ηναίου would 
have contained, not only the — σεν ending of the verb, 
but also the artist’s name and the first letters of his 
father’s. In this case the σ of No. 1 would have been 
part of another inscription. 

Urlichs' thinks this artist is the son of an Athenaeus, 
who, he says, may possibly be the Athenaeus of the dis- 
puted passage in Pliny—N. H., XXXIV, 52: Cessavit 
deinde ars, ac rursus olympiade CLYI reviait, cum 
fuere longe quidem infra praedictos, probati tamen, 
Antaeus, Callistratus, Polycles,2, Athenaeus, Callia- 
enus, etc.—and he includes this same Athenaeus among 
the artists employed in Pergamum during the reign of 
Attalus I. But, since Conze? places the building of the 
great altar at Pergamum in the time of Eumenes II 
(197-159 8. c.), it is chronologically impossible to take 
the artist referred to in this inscription as the son of 
an Athenaeus of the CLVI Olympiad, even if an artist 
of this name is to be assumed from this passage in 
Pliny. 


ORESTES. 


Inscription No. 75 is made by the combination of 
two pieces on which the spacing of the letters and the 
height of the lines are the same. The inscription, as 
restored by Fraenkel, reads: 


᾿Ο]ρέστης ’Op[é]oro[v Tlepy] αμ[ηνὸς ἐπόησεν. 
Kleven of the sixteen inscriptions (Nos. 72, 73, 76-82, 


84, 85) are too fragmentary to admit of any attempt 
at restoration, but it has been conjectured that the 7 


1 Perg. Inschr., p. 24. 
* Monatsb. d. Berl. Akad., 1881, p. 869; ef. Alt. v. Perg., VIII, p. 54. 


SCULPTORS. 35 


of No. 72 formed part of the word Περγαμηνός ; so of the 
five, or possibly six) artists whose names have been 
recovered, three were, very probably, natives of Per- 
gamum. 

Nothing further is known of these artists or their 
work, but the fact that they formed part of the group 
entrusted by Eumenes II with the great artistic under- 
taking of his reign assures them a place among the 
most celebrated artists of the second century B. c. 


HERMOCREON. 


The native place of Hermocreon is unknown, but the 
combined testimony of Livy and Strabo furnish evi- 
dence for including him among the artists of the second 
century B. c. who were employed by Eumenes II of 
Pergamum. 

The victory over Antiochus in 190 Β. c. greatly ex- 
tended the dominions of the king of Pergamum and 
gave to Eumenes the provinces of Phrygia, Mysia, 
Lydia, ete It was,no doubt, Eumenes II who, after he 
came into possession of this territory, caused a great 
altar to be erected at Parium on the Propontis, and 
the artist selected by him for this work was Hermoc- 
reon. Strabo, X, 487: Ὑπὸ δὲ Παρίων ἐκτίσθη Θάσος καὶ 
Πάριον ἐν τῇ Προποντίδι πόλις" ἐν ταύτῃ μὲν οὖν ὁ βωμὸς λέγεται 
θέας ἄξιος, σταδιαίας ἔχων τὰς πλευράς. XITI, 588: Ἡ μὲν 
οὖν πόλις μεταξὺ Πριάπου καὶ ἸΠαρίου ἔχουσα ὑποκείμενον πεδίον 
ὁμώνυμον, ἐν ᾧ καὶ μαντεῖον ἣν ᾿Απόλλωνος ᾿Ακταίου καὶ ’Ap- 
τέμιδος κατὰ τὴν ** Πυκάτην'" εἰς δὲ Πάριον μετηνέχθη πᾶσα ἡ 
κατασκευὴ καὶ λιθεία κατασπασθέντος τοῦ ἱεροῦ, καὶ ὠκοδομήθη 
ἐν τῷ Παρίῳ βωμός, “Ἑρρμοκρέοντος ἔργον, πολλῆς μνήμης ἄξιον 
κατὰ τὸ μέγεθος καὶ κάλλος. 

This is the only work οἵ Hermocreon mentioned in 


* Liv., XX XVIII, 39, 14-17. 


36 THE ARTISTS OF PERGAMUM. 


literature, and his name has not appeared in inscrip- 
tions found in or near Pergamum. 


MENoPHANES (?) on MENoPHANTUS (7). 


A fragmentary inscription found on a block of 
marble in Pergamum, as restored in the Alterthuemer, 
TORS re any me et 

‘O δεῖνα] Μηνοφ νου or ἄντου 
Tlepya] μηνὸς ἐπό[ησεν. 
Alt. v. Perg., Ν1Π:, 221. 


Both the names suggested by Fraenkel are found in 
Pergamum: Menophanes on a coin of Caligula,’ and 
Menophantus in inscriptions.2, There was an artist 
Menophantus in the time of the Roman empire, whose 
name is found on a statue of Aphrodite now in the 
Chigi Palace at Rome.* The artist of the Pergamene 
inscription, who belongs to the time of the kings, is 
otherwise unknown. 


DioscuRIDEs. 


A fragmentary inscription from Pergamum (*Lebas- 
Waddington, III, 1723°) probably contains the name 
Dioscurides. The transcriptions of Loewy and Fraenkel 
disagree as to the existing letters: 

[Διοσκ] ovpidns 
[ἐποίη σεν. 
I. 6. B., 284. 
Διοσκ[ουρίδης 
ἐποίη] σεν. 
Alt. ν. Perg., VIII, p. 514. 
** Mionnet, II, p. 596, No. 550. 


*C. I. G., 3554; Alt. v. Perg., VIII’, 171 sq. 
3 C. I. G., 6165; Loewy, I. G. B., 377. 


SCULPTORS. 37 


There was a later artist of this name who was a 
gem-cutter in the time of Augustus,' and there was 
also a Dioscurides of Samos, who is known through 
two mosaics found in Pompeii.2 The Pergamene artist 
is otherwise unknown. 

Five more inscriptions which contained the names of 
artists have been recovered in too fragmentary a con- 
dition to admit of any attempt at restoration. Alt. v. 
Perg., VIIT', 3, 148, 145, 146, 197. One, at least, was 
a native of Pergamum (No. 143). 


Arrauus IIT. 


The work of Attalus III, king of Pergamum, would 
probably not entitle him to a place among the artists 
of that city; his only claim to such a position is a 
passage in Justin, where it is said that he worked in 
wax and bronze, and of the latter material, probably, 
began the construction of a tomb forhis mother. Justin, 
XXXVI, 4, 4-5: Ab hoc studio aerariae artis fabricae 
se tradit, cerisque fingendis et aere fundendo procuden- 
doque oblectabatur. Matri deinde sepulchrum facere 
instituit ... 

Several artists, for various reasons, have been in- 
cluded among those of Pergamum, although there is 
no direct testimony in literature or inscriptions which 
connects their names with that country. The sugges- 
tion of Collignon* that Athenion, whose name has been 
found on cameos of the second century Β. c., is to be 
included among Pergamene artists, is quite plausible, 
as his work is closely related in style to that of the 
sculptors contemporaneous with Eumenes II. Colli- 
gnon thinks itis probable that Boethus of Chalcedon also 
worked at Pergamum, and Urlichs* includes among the 

1 Plin., N. H., XXXVII, 8; Suet., Aug., 50. 

30. I. G., 5866 B. 


3 Pergame, p. 227. 
4 Perg. Inschr., p. 31. 


38 THE ARTISTS OF PERGAMUM. 


artists of this country Callistratus mentioned by Pliny 
(N. H., XXXIV, 52) as an artist of Olympiad CLVI. 


Sosus. 


The date of Sosus is uncertain: he may have been 
one of the artists of the third century sp. c. Accord- 
ing to Pliny (N. H., XXXVI, 184) he was the most 
famous artist in mosaic of antiquity, and he is the only 
one whose name is recorded in literature. Whether he 
belonged to Pergamum, or was one of the many artists 
from other countries who worked at the court of the 
Attalids, is uncertain: the phraseology of Pliny might 
imply the latter. 

The only works of Sosus mentioned by Pliny are 
the famous floors in Pergamum. N. H., XXXVI, 184: 
Celeberrimus fuit in hoc genere Sosus qui Pergamt 
stravit quem vocant asaroton oecon, quoniam purga- 
menta cenae in pavimentis quaeque everri solent velut 
relicta fecerat parvis 6 tessellis tinctisque in varios 
colores. Murabilis ibi columba bibens et aquam um- 
bra capitis infuscans apricantur aliae scabentes 8686 im 
canthari labro. The popularity of this work is proved 
by existing imitations as well as references in Roman 
writers.! Of existing imitations the best known, called 
the Capitoline Doves, was found in 1737 in Hadrian’s 
villa near Tivoli.2 Several mosaics of the unswept 
floor type also have been found.® 

It is possible that Sosus may have been one of the 
artists who made the mosaics for the magnificent ship 
of Hiero II of Syracuse, about 232 8. c.* 


1 Stat. Silv., I, 3, 56; Apollinar. Sidon., Carm., XXIII, 55. 

2Helbig, Fuehrer durch die oeffentlichen Sammlungen klassischer 
Alterthuemer in Rom (Leipzig, 1891 and 1899), 450. 

5. Ibid., 694; Brunn, Gesch. ἃ. gr. Kuenst., II, p. 312. 

* Athen., V, 206 D. 


PAINTERS. 39 


HEPHAESTION. 


The name of one other artist in mosaic has been dis- 
covered in Pergamum: one of the fragments of a 
mosaic floor! found in the ruins of what was probably 
the royal palace bears his signature: 


Ἡφαιστίων 
ἐποίει. 


Alt. v. Perg., VIII, 46", p. 504. 


These fragments, according to Ussing,* are far su- 
perior to the best Pompeian mosaics. 

An Hephaestion of Athens, son of Myron, an artist 
of the first century Bs. c., is known from four inscrip- 
tions found in Delos.*® 


Among the literary records of painters and paint- 
ings in Pergamum only three, at most, refer to con- 
temporary artists. One of these is a painting at Per- 
gamum mentioned by Pausanias (X, 25, 10), which 
depicted the slaying of Polyxena on the tomb of Achil- 
les. As Pausanias is speaking of a series of connected 
paintings, he very probably refers to fresco-paintings 
on the wall of some public building. 


Miton (8). 

The second reference also is found in Pausanias. I, 4, 
6: Περγαμηνοῖς δὲ ἔστι μὲν σκῦλα ἀπὸ Γαλατῶν ἔστι δὲ γραφὴ 
τὸ ἔργον τὸ πρὸς Γαλάτας ἔχουσα. This battle with the 
Gauls Urlichs* has conjectured was the work of Milon 
of Soli, the pupil of Phyromachus the statuary. 

*Vol. V* of the Alterthuemer, which contains an account of these 
mosaics, has not yet been published. 

2 Pergamos, p. 69. 

5.0.1. G., 2284, 2293; Loewy, I. G. B., 252-255. 


4 Perg. Inschr., p. 30. 
*Plin., N. H., XXXV, 146. 


40 THE ARTISTS OF PERGAMUM. 


PyTHRAS. 


Pytheas was probably an artist of the second ssa 
B. C.3 his native place was Bura in Achaea.! 

There was an elephant in Pergamum, which was the 
work of Pytheas, who seems to have excelled in mural 
paintings. Steph. Byz.: Βοῦρα, πόλις ’Ayaias ... ἐκ 
ταύτης ἣν ἸΤυθέας ζωγράφος, οὗ ἔστιν ἔργον ὁ ἐν Περγάμῳ ἐλέφας, 
ἀπὸ τοιχογραφίας ὧν ὡς Φέλων. 

In the third century Β. c. Antiochus, who had won ἃ 
complete victory over the Tectosages in Phrygia 
through the havoe made by his sixteen elephants, com- 
manded that nothing but the figure of an elephant 
should be inscribed on the trophy.’ It is probable that 
the elephants of the Greek princes played as important 
a part in the wars with the Gauls which followed, and 
there can be little doubt that this elephant of Pytheas 
was connected with the victories of Attalus and Ku- 
menes: it may have been assigned a place on the 
acropolis with the other monuments erected in honor 
of the victories of these kings.* 


The names of several artists have been found in in- 
scriptions of Pergamum, which must be assigned to the 
period of Roman supremacy. 


MENOPHILUS. 


A Pergamene artist of this name is known from only 
one inscription: 
Ὁ 89 [1] os [eréunoer] 
Λεύκιον ᾿Αντώ[ν]7 ον M[adpxov υἱόν, ἀντι-} 
ταμίαν καὶ ἀντιστράτη γον τὸν πάτρω-] 
* Steph. Byz., 8. v. βοῦρα. 
* Lucian, Zeux., 11. 


3 S$. Reinach and ἘΠ Pottier, La Necropole de Myrina (Paris, 1888), 
pp. 168-169, 322-323. 


ARTISTS UNDER THE ROMAN EMPIRE. 41 


va καὶ σωτῆρα, δικαιοδοτ[οῦντα κατὰ τὴν] 
ἐπαρχείαν καθαρῶς καὶ δ[ημιοτικῶς καὶ] 
ὁσίως. 
Μηνόφιλος Μηνογένου ἐπόει. 
Alt. v. Perg., VIII?, 410; cf. Loewy, I. G. B., 283. 


As Lucius Antonius, the brother of the triumvir 
Marcus Antonius, was quaestor in Asia in 50 B. c. and 
proquaestor with praetorian rank in 49 8. c.,1 Meno- 
philus was an artist of the first century Β. c. His 
native place is unknown. 

Lolling? is inclined to think that the Menogenes of 
Pliny, XXXIV, 88, is the father of this artist; he 
thinks it probable also that this Menophilus is a kins- 
man of the Agasias of Ephesus, son of Menophilus, 
whose name is found in an inscription of Delos and 
whose date is probably 100 s. c.2 On the basis of this 
conjecture he gives the following family tree: 


Menophilus 
ἢ 


| 
Agasias ἐμ μὰ 


(about 100 Β. C.) | 
Menophilus (about 49 B. C.) 


But there are four inscriptions from Delos containing 
the name of this Agasias, son of Menophilus ;* one that 
of Menophilus, son of Agasias,° also from Ephesus; and 
one also that of an Agasias, son of Dositheus, of 
EKphesus.° Loewy’ gives the following family tree, in 
which he does not include the artist of Pergamum: 


1* Waddington, Fast. Prov. Asiat., Nos. 33 and 34. 
* Ergebnis. d. Ausgrab. z. Perg., 1880, p. 110. 

3C. I. G., 2285 B. 

* Loewy, I. G. B., 287-290. 

§ Ibid., 291. 

6 Ibid., 292. 

τ Ibid., p. 205. 


42 THE ARTISTS OF PERGAMUM. 


Agasias 


| 
Menophilus Dositheus 
Agasias (Nos, 287-290) Agasias (No, 292) 
Menophilus (No. 291) 


Since the home of the Pergamene Menophilus is not 


mentioned, there is too little on which to base such a ᾿ 


conjecture as that of Lolling. 


Dioporvus. 


The name of this artist has been found in an in- 
scription on a marble pedestal at Karaman-Mesar: 


ἐποίει Διόδωρος. 
Mitth. Arch. Inst., 1899, p. 224. 


A Diodorus who painted a portrait of Menodotus is 
ridiculed in the Greek Anthology (Palat., XI, 213). 
The Pergamene artist is otherwise unknown, and the 
only clue to his date is the epigraphy of the inscrip- 
tion, which places him in the time of the Roman Empire, 
perhaps as late as the early part of the second cen- 
tury A. D. 


GLYCcoN. 
An inscription on a marble base found in Pergamum 
contains this name: 
Ὁ [δῆμος ἐτίμησε 
Tep | μανικὸν καίσαρα Τιβερίου Σεραστοῦ υἱόν 
τὸν ε]ὐε[ρ] γ[έτην καὶ σωτῆρα τῆς πατρίδος. 
ΓλύκωΪν . .. ἐποίει]. 
Alt. v. Perg., VITI?, 391. 
The terminus post quem for this stone is 18 a. "Ὁ. 
Germanicus, who was put in charge of affairs in the 


*== Meineke, Leonidae Alexandrini Carmina, V. 


ARTISTS UNDER THE ROMAN EMPIRE. 43 


east in that year, traveled along the coast from Ilium 
to Colophon? and probably stopped in Pergamum: he 
died in Syria the following year.* This inscription, no 
doubt, belonged to one of the statues erected in his 
honor which are mentioned by Tacitus.* 

The Athenian artist of the first century Β. c. who 
executed the famous Farnese Heracles, now in Naples, 
was a Glycon. It is, of course, possible that the later 
artist may have been a member of the same family, 
but identity of name does not of necessity lead to any 
such conclusion. 


NicopEMus or NIcon. 


One more name must be added to this list, for, though 
he who bore it cannot be included among the artists of 
Pergamum in the strict sense of that term, he was too 
famous in his particular line to be passed over without 
comment. Anarchitect, I. Nicodemus, also called Nicon 
the Younger, restored and decorated, at his own expense, 
a colonnade of the agora in Pergamum: 


᾿Αρχιτέκτων 
θίοις at τεχνείταις ἱεροῖς 
Ἶ. Νεικόδημος ἀγαθός, ἅμα δὴ ὁ καὶ 
Νείκων νέος, 
ἠσφαλίσατο καὶ κόσμησε ἅπασι 
ἀγορανόμιον περίπατον ἰδίῃ φιλοτειμίῃ. 
ἐν βίῳ δὲ καλὸν ἔργον ἕν μόνον εὐποιΐἴα. 
C. I. G., 3545; Alt. v. Perg., VIII’, 333. 


And a Nicon of Pergamum, probably the same, drew 
up a mathematical composition: 


*Tac., Ann., 11, 43. 
2 Ibid., 54. 
Ibid., 72. 
* Ibid., 83; Fraenkel, Alt. v. Perg., VIII, p. 279. 


44 THE ARTISTS OF PERGAMUM. 


Ἔπ᾽ ἀγαθὰ τοῖς τεχνίταις 
τὴν διατριβὴν ἐποίησε Νείκων 
ἐνπείροις ἀὶ τῆς μνήμης χάριν. 


CG. 1. G., 3546. 


The architect of this restored building Doerpfeld? 
places in the second century a. p. Nicon, the father 
of Galen, lived in the first half of the second century a. 
p.; he was a geometrician and an architect, and came 
from Pergamum. Suidas, Tadnves . . . Tlepyapunves, 
γεγονὼς ἐπὶ Μάρκου καὶ Κομόδου καὶ Ieprivaxos τῶν Καισά- 
ρων ἐν Ῥώμῃ, vids Nikwvos γεωμέτρου καὶ ἀρχιτέκτονος . .. 
Galen, Περὶ εὐχυμ. καὶ κακοχυμ., 1 (VI, p. 755, Kuehn): 
Ἐμοὶ γὰρ πατὴρ ἐγένετο γεωμετρίας μὲν καὶ ἀρχιτεκτονίας καὶ λο- 
γιστικῆς ἀριθμητικῆς τε καὶ ἀστρονομίας εἰς ἄκρον ἥκων Τί 18 
very probable that Nicon the father of Galen and Nico- 
demus the architect are one and the same person.? 

There has also been found in Pergamum an inscrip- 
tion on a stone raised in his honor after his death or 
placed over his tomb: 


"I. Νικόδημος ὁ καὶ Νίκων 
ἀγαθὸς εἶεν ἀὶ ἥρως. 


Alt. ν. Perg., VITI?, 587. 


Since inscriptions found in Pergamum prove that 
artists of many nationalities worked there, the exis- 
tence of a Pergamene school of art has been questioned 
and even rejected.* It must be admitted that, in the 
true sense, a school of art cannot be created by the lav- 

1 Mitth. d. Arch. Inst., 1902, p. 30. 

? Cf. Tzetzes, Chiliades, XII, 9 sq. - 

® Alt. v. Perg., VIII, p. 372; *H. Schoene, Schedae philologae Her- 
manno Usenero .. . oblatae (Bonn, 1891), p. 91. 


*Urlichs, Perg. Inschr., p. 27; Conze, Goett. gelehrt. Anz., 1882, p. 
911 sq. 


PERGAMENE SCHOOL OF ART. 45 


ish patronage of princes, cannot, save in the most ele- 
mentary degree, be formed by a gathering of painters 
and sculptors, as the world has slowly recognized in 
the decadence of Italian art in the past two centuries. 
There was no Pergamene school in the sense of ‘‘a 
body of native sculptors showing in their work the im- 
press of local character and influence,’’ but, since ‘‘a 
certain spirit and style appear throughout the mass of 
sculpture discovered on the site of Pergamum, which 
no earlier work of sculpture displays so conspicuously 
or so consistently,’’ a Pergamene style or epoch may 
be maintained. This was probably part of a great 
Graeco-Asiatic school, of which Pergamum, in the 
second century B. c., was the most brilliant and active 
center. These post-Alexandrian sculptors and painters, 
Greeks though they were, were influenced by the great 
East which they had conquered; but it was against 
this East, which was slowly but steadily engulfing them, 
that their works were a protest in grace and in beauty. 
For inspiration they turned to Athens, the ancient seat 
of Hellenic glory, though her surroundings, beliefs, and 
associations were fading away. 


* Farnell, Jour. Hell. Stud., XI, p. 181 sq. 


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